The exhibtion came with a folded monochrome brochure containing a short text by John Russell Taylor, six reproductions of Forrester’s paintings, and a portrait of the artist in his studio. John Russell Taylor’s brief introduction began as follows: “The first thing anyone writing about Denzil Forrester’s work is likely to mention, either to whip up enthusiasm or to support marginalization, is that he is a black artist working in a predominantly white community. I am doing it even as I prepare to say how deeply irrelevelant I think it is to anything that really matters in the judgement of his art. Of course, his art is based, as every artist’s must be in some measure, on his own experience of life. Some of them are very specific. Many of his earlier paintings, for instance, were inspired by the death of a mentally disturbed friend at the hands of the police. It is not something exclusive to black men in Britain, but statistically a black man is twenty times more likely than a white man to end up in Broadmoor. Some of his [Forrester’s] most recent work is much more concerned with the disco scene - not exclusively black, but very importantly so - and with his own childhood in England, helping his mother to sew sacks for a living.”